Example 1: Beethoven, Piano Sonata in C minor, Op. 13, II: Adagio cantabile

Transcription

1 Bar 0 and the Suppressed Hyperdownbeat, p.1 Example 1: Beethoven, Piano Sonata in C minor, Op. 1, II: Adagio cantabile a) Arthur Komar s bar 0 (after Theory of Suspensions ) Bars Strong weak (downbea t upbeat ) Hypermeter 1 2 (= end-accented phrases) b) Carl Schachter s reading (after Rhythm and Linear Analysis: A Preliminary Study ) Bars 1 5 Strong weak (downbea t upbeat ) Hypermeter 1 2 (= beginning-accented phrases)

2 Example 2: Suppressed downbeats and hyperdownbeats a) Suppressed subbeat: Handel, F major Concerto Grosso, Op. 6, No. 2, II: Allegro (in D minor) Bars 1 2 Violino I Concertino Violino II Violoncello [ Ripieni tacet] downbeat afterbeat displacement Solo Solo Solo Bass maintains the notated meter Bar 0 and the Suppressed Hyperdownbeat, p.2 b) Suppressed downbeat in fugal circumstances: Bach, G minor English Suite, Prélude Bars afterbeat displacements notated meter emerges 8 downbeats 8 afterbeat displacements pedal call in upper voice c) Suppressed hyperdownbeat: Handel, Concerto a due cori in F, Allegro Bars 1 2 Corno I, II [ Tutti tacet] hyperdownbeat hypermetrical afterbeat displacement (= thematic meter and hypermeter) 12 8 upbeat notated meter and hypermeter 4 5

3 Example : Downbeat suppression in the compound 4/4 with one-beat afterbeat displacement to the right a) Handel, The Harmonious Blacksmith, final version Bars 1 2 downbeat pedal call afterbeat displacement b) Handel, The Harmonious Blacksmith, early version Chaconne no pedal call notated meter displaced thematic meter (= afterbeat displacement) c) Purpose of subbeat, beat, and hyperbeat suppression: emphasis on closing downbeat Handel, Op. 6, No. 2, Allegro (cf. Ex. 2a) Violino I Solo Bach, G minor English Suite (Ex. 2b) 8 8 Handel, Concerto in F (Ex. 2c) Bar 0 and the Suppressed Hyperdownbeat, p. 12 Corno 8 I, II Handel, The Harmonious Blacksmith (Ex. a)

4 Example 4: Suppressed beat and afterbeat displacement in the triple meters Bar 0 and the Suppressed Hyperdownbeat, p.4 Violino I. concertino. Violino II. Violino I. ripieno. Violino II. Viola. Violoncello. Bassi. a) One-beat suppression and displacement: Handel, Op.6, No., IV: Polonaise Bars 1 2 downbeat simulated upbeat afterbeat displacement Tutti. Andante. 4 Solo downbeat of 4 afterbeat displacement ( ) pedal call b) One-beat suppression with nested afterbeat: Handel, Op.6, No. 10, IV: Allegro Bars 1 downbeat ( ) implicit pedal call simulated upbeat 5 afterbeat displacement (= thematic meter) displacement accentuates closing downbeat accents on closing downbeats 4 4

5 Example 5: Suppressed hyperdownbeat and afterbeat displacement in the simple 4/4: Handel, Organ Concerto in F, Op. 4, No. 4, I: Allegro a) Bars 1 7 (orchestral ritornello) hyperdownbeat Organo. Bars Solo Ob. I, I I Vln. I, II, Vla. Solo pedal call accents on closing downbeats Bassi displaced thematic meter and hypermeter (half-note afterbeat displacement) etc. notated meter and hypermeter Bar 0 and the Suppressed Hyperdownbeat, p.5 Organo. b) Temporary assumption of notated meter in developmental B section (bars 42ff.) Bars c) Attempted maintenance of notated meter at beginning of recapitulatory A' section (bars 70ff.)* Bars *Abbreviation of figure suggests the subliminal presence of the displaced thematic meter. continued

6 Example 5: Suppressed hyperdownbeat and afterbeat displacement (continued) d) Restoration of displaced thematic meter at reentry of solo organ (Handel, Organ Concerto, bars 77ff.) Bars displaced thematic meter Bar 0 and the Suppressed Hyperdownbeat, p.6 Example 6: The gavotte, without pedal call or opening rest: Bach, G minor English Suite, Gavotte 1, first reprise a) Displaced thematic meter and notated meter Bars no pedal call or rest simulated upbeat displaced thematic meter and hypermeter notated meter and hypermeter dancers begin at notated downbeat continued

7 Example 6: The gavotte, without pedal call or opening rest (continued) Bar 0 and the Suppressed Hyperdownbeat, p.7 b) Hypermetrical rendition, with downbeat (after Edward Aldwell) Bars Hyper measures etc. Hyper beats (1) 2 4, 1 2 4, 1 Basic pace: Figural pace: c) Shadow meter and hypermeter (= notated meter and hypermeter) Bars 0 2 Gavotte begins Traditional parsing begins shadow meter and hypermeter 2 displaced thematic meter and hypermeter etc.

8 Example 7: The almost empty bar 0: Handel, Music for the Royal Fireworks, Bourrée a) Notated (i.e., shadow) meter and hypermeter Oboe e Viol. I. for 12 Oboe e Viol. II. for 12 Bassons tutti. (Violonc. e Contrab.) Notated shadow hyperbeats: Bars notated (= shadow) thematic meter and hypermeter displaced thematic meter and hypermeter (foreground) Bar 0 and the Suppressed Hyperdownbeat, p.8 Viola colli Bassi 1 2 4, 1 2 4, 1 2 4, 1 2 4, b) Real and displaced meters and hypermeters hyperdownbeat Real hypermeter: Bars displaced thematic meter and hypermeter (middleground) ( ) ( ) ( ) ( ) cadential acceleration 1 2 4, 1 2 4, 1 2 4, 1 2 4, 1 2 4, 1 2 Basic pace: Figural pace:

9 Example 8: Implicit pedal call (Handel, Bourrée) Bar 0 and the Suppressed Hyperdownbeat, p.9 Bars Traditional parsing begins Bourée begins Oboe e Viol. I. for 12 Cf. Handel, Israel in Egypt, No. 11, Chorus: He led them through the deep, bars 1 2 Oboe e Viol. II. for 12 A tempo giusto Viola colli Bassi Basso Bassons tutti. (Violonc. e Contrab.) I, II Cont. He led them through the deep pedal call pedal call = as well as: Oboe I. Handel, La resurrezione, Overture displaced pedal call displaced thematic meter which sheds new light on: Tutti. Handel, Water Music, Bourée times : First all the Violins, d2. all the Hautboys, d. all together. Viola. Bassi

10 Bar 0 and the Suppressed Downbeat, p.10 Example 9: Komar s bar 0 revisited a) Renotated in 4/4 time: Beethoven, Op. 1, II: Adagio cantabile Bars Basic pace: Hyperbea ts :(1) 2 4 1, 2 Visually similar to Gavotte reading (Ex. 6b) but unconvincing because of (1) quarter-note basic pace and (2) misinterpreted rhythm, which is characteristic of developmental rather than expository areas of allemandes. b) Rhythmic reduction with bar 0 (= hyperdownbeat) , 4 1 2, , 4 1 2,. = c) Without bar , 1 2 4,

11 Example 10: Idiomatic origins of bar 0 Bar 0 and the Suppressed Hyperdownbeat, p.11 a) Allemande, rhythmic source for Komar s idiom motive, undisplaced (Handel, D minor Suite, 1720) Bars ( ) = = ( ) outer voices: b) Allemande, motive, displaced Bars 20 b a 20 b a 20 b a = = outer voices:

12 Example 11: Pedal call, bar 0, and hyperbar 0 in the Classical style Bar 0 and the Suppressed Hyperdownbeat, p.12 a) Mozart, Symphony No. 40 in G minor, I: Allegro molto Bars 1 5 Thematic meter and hypermeter begin; simulated upbeat Bar 0 Vln I va Vln II (etc., II coll 8 bas sa) Vla Vcl, Cb Pedal call, composed out; notated meter and hypermeter begin (cf. Mendelssohn, Italian Symphony, I) b) Haydn, Symphony No. 104 in D, IV: Allegro spiritoso 1 5 Bars Vln I Hns Vcl Hyperbar 0 Thematic meter and hypermeter begin Pedal call; notated meter and hypermeter begin continued

13 Example 11: The Classical style (continued) c) Beethoven, Symphony No., Eroica, I Flauti. Oboi. Clarinetti in B. Fagotti. Corni in Es. Corno zo in Es. Trombe in Es. Timpani in Es.B. Violino I. Violino II. Viola. Violoncello e Basso. Notated meter and hypermeter begin Allegro con brio Allegro con brio cresc. 4 cresc. 4 cresc. Vcl. 4 cresc. Composed-out pedal call and hyperbar 0 Thematic meter and hypermeter begin Bar 0 and the Suppressed Hyperdownbeat, p.1

14 Example 12: Pedal call, bar 0, and hyperbar 0 during the Romantic era a) Mendelssohn, Italian Symphony, IV: Saltarello (Presto) Bar 0 and the Suppressed Hyperdownbeat, p.14 2 Flauti 2 Oboi 2 Clarinetti (A) 2 Fagotti 2 Corni (E) 2 Trombe (E) Timpani (E. A.) Violino I Violino II Viola Violoncello Contrabasso Notated meter and hypermeter begin leggiero ff dim. dim. ff dim. ff ff ff part 1 part 2 part 2, repeated Pedal call, composed out and prolonged, to bar 6 Thematic meter and hypermeter begin continued

15 Example 12: The Romantic era (continued) Bar 0 and the Suppressed Hyperdownbeat, p.15 Fl. Cl. Fg. Vl. I a) Mendelssohn, Italian Symphony (cont.) 7 b) Schumann, Fantasy in C, Op. 17, I Notated meter and hypermeter begin Thematic meter and hypermeter begin extended bar 0 Durchaus phantastisch und leidenschaftlich vorzutragen. M.M. = 80. ff Pedal. composed-out pedal call 5